Talked about on today’s show:
titled The Jacket in the UK; astral projection; what about alien past lives; the primordial ooze; the book is a laundry list of Jack London’s interests; structure resembles television flashbacks; knuckle-rap Morse Code; The Count of Monte Cristo; Seth recounts his own past-life story; Jesse and Maissa debate plausibility of reincarnation; Plato and the Land of the Forms; “little death” means something else in French; Ragnar Lodbrok based on Norse Mythology; anachronism; Korean history and turtle ships; Jesse attempts to use the Napoleon Complex to debunk reincarnation; everyman (and everywoman); does reincarnation extend beyond humanity?; “there’s only one soul”; Lucretius, star dust, and the recovery of scrolls from Herculaneum; “souls are totally bogus”; past lives as a metaphor for reading widely; prevalence of the number 40; hallucination; Jack London on surfing; multilingual reference as an indicator of fame; prison reform; interrogation, torture, and Guantanamo Bay; loosely adapted in 2005 film The Jacket; the 1923 silent film adaptation is sadly lost; comparing and contrasting with The Iron Heel; T.C. Boyle’s The Relive Boxin The New Yorker; Until the End of the World, a film about reliving dreams; on cultivating sleep; frame narrative; sexism; historical basis for character names; H.P. Lovecraft, Samuel Taylor Coleridge, and the creative power of dreams; confabulation; Total Recall; “faith in the lordship of my mind”; the odd importance of tobacco; The Island of Doctor Moreau by H.G. Wells.

There is no yellow brick road here. No emerald city. No lollipop guild. This is the Australis Penal Colony, a continent sized prison referred to the world over as the Outcast Zone.

Built to contain the world’s most dangerous criminals, OZ ended up the dumping ground for everything polite society deemed undesirable.

From inside this place, a garbled message proves Dorothy’s father is still alive, trapped in a prison with only one way in and no way out. Into this place, 17-year-old Dorothy must go if she wants to find her father and keep the promise she made to her dying mother.

She thought she had spent the past seven years preparing to overcome anything that got in the way of fulfilling her promise, but the situation she finds herself is harder and more intense than anything she has experienced before as she drops right into the middle of a power struggle for control over all of OZ. If she has any hope of surviving long enough to find her father, she will need her mother’s guts, her father’s brains and the unexpected help from those discarded and forgotten.

Everyone she meets tells her the same thing. The only person who can help her is the one prisoner who deserves to be in a place like this and refers to himself by the name, Wizard.

The Wizard always asks for something in exchange for his help. Can Dorothy afford the terrible price he will demand?

The Wizard of OZ: A Steampunk Adventure is a well-rounded story that is interesting the whole way through. I wasn’t sure what to expect from a steampunk take on The Wizard of Oz but Stuart manages to make clever nods toward different aspects of the classic when turning OZ into a massive steampunk prison. The steampunk aspects of the story are incorporated well and not over the top.

A lot of steampunk seems to go so over the top that it’s hard to follow what’s going on but that isn’t the case here. This is clearly a steampunk adventure that is not trying to be some kind of big budget movie. There are guns, swords, airships, combat, automatons, and borderline magical science all at work in this story. There is also a healthy amount of dueling, betraying, and double crossing in here too. One minor thing that I didn’t like as much (and is fairly common to steampunk) is the amount of betrayal- it was a little difficult to follow some characters’ motivations and betrayals at times because of all the double crossing going on.

Turning OZ into a prison worked out great. Since I know the story of OZ already, I kept linking pieces from this story to the classic and found that it actually works out well, even the lessons learned by the characters in the end. The story was interesting without dragging too much. The only parts that dragged for me were when some of the characters kept getting locked up in prison (it’s like a prison of prisons at times) and they sit around and talk or figure stuff out.

Amanda C. Miller does a great job as narrator for this novel. She does all the different voices and adds some good snark and attitude to Dorothy when she needs it. I never had trouble understanding her and could usually tell which character was speaking based on the voices she gave them.

One of the finest Science Fiction audiobooks on LibriVox, the novel that was the subject of SFFaudio Podcast #056, here it is …. The Status Civilization by Robert Sheckley on YouTube.

A man awakes with amnesia. He is aboard a spaceship. He is a prisoner. He is gnorant of his crime and his name. His destination is the planet Omega. It is a prison planet from which there is no escape.

If you give it a five minutes, it’ll take you into the full five hours and you’ll know the truth of The Status Civilization!

In the year 1988 the crime rate in the United States rises 400%. The once great city of New York becomes the one maximum security prison for the entire country. A fifty foot containment wall is erected along the New Jersey shoreline, across the Harlem river, and down along the Brooklyn shoreline. It completely surrounds Manhattan Island. All bridges and waterways are mined. The United States Police Force, like an army, is encamped around the island. The prison’s name: New York Maximum Security Penitentiary, Manhattan Island. There are no guards inside the prison, only prisoners, and the worlds they have made. The year now… 1997.

In the opening crawl (detailed above) we are given a world rife with Science Fiction glory. Escape From New York has a premise full of promise. It is a story pregnant with possibilities – nearly all of which are fulfilled. Escape From New York, my friends, is both a powerful satire of our times and a powerful cinematic experience movie. Now, thanks to the creative love and attention by fans at BrokenSea Audio Productions it is a wondrous audio drama made by fans for fans.

Now hang with me on this. I hope I don’t end up seeming like a crazed french film critic, arguing for the superiority of the second Star Wars trilogy (The Phantom Menace et. al) over the original Star Wars and Empire. Take that first statistic: “the crime rate in the United States rises 400%” – how would that be possible? It certainly wouldn’t match any conventional trend or shift in population growth. Might it then be categorized under some sort of Freakonomics-style explanation? Maybe. But, I think we could argue, quite convincingly, that the only way to increase the crime rate 400% overnight would be to make a whole lot more human behaviors crimes. Disrespecting authority, sharing files with friends, or as the trailer for Escape From L.A. puts it “No talking, no smoking, no littering, no red meat, no freedom of religion. And remember all marriages must be approved by the Department of Health.” So, the world of Escape From New York is really fun. But a world is not enough. You need a plot and a set of characters. As to the latter…

The anti-hero takes many forms but I have a special fondness for Snake Plisken. As in an IMDB grendelkhan says:

“Snake Plissken is the classic anti-hero, ala Clint Eastwood’s Man-with-no-name. Plissken is an ex-soldier turned criminal, recruited/blackmailed into rescuing a hostage president from the prison of New York City. Plissken is a walking ball of anger and a survival machine.”

Indeed, a survival machine who’s been betrayed, lied to shat on by his own government – and he’s got a cool eye-patch, a reverse tramp stamp of a cobra, and a gravelly voice. He is a great character.

“But what of his motivation?” You ask.

Read on…

Plisken, call him Snake, lives in a parallel universe – a USA run like a fun-house-lensed double craptoberfest of moral hypocrisy. If you’ve seen the movie Escape From New York, you’re seeing the 1980 zeitgeist of Manhattan as the epitome of ghettoic urban decay. This fear, that your neighbors are out to get you, the horror that politicians so often rely upon, works great in movies (and in the opening credits to The Equalizer). But this isn’t only a horror story. The prison genre is one of my favorites (check out Animal Factory). Like westerns, these genre stories have a certain set of conventions or constraints that make a story told within those constraints far more satisfying. But neither is Escape From New York just a prison story. For it
is also a quest story, a revenge story, an all out action adventure. There are MacGuffins galore for Plisken to chase after: First up is a world peace conference that is about to end in disaster lest a certain audio cassette is retrieved, then there’s a kidnapped President Of The United States to be rescued, and of course there’s a jet glider (don’t think too hard about that one) as their only escape, but to top it all off there’s a pair of ticking time-bombs in Snake’s body! That’s not just motivation, that’s entertainment folks!

Snake, now motivated, has enough-knock-down-drag-out adventures in the course of just less than 24 hours, so as to numb any thoughy you had about suspending any disbelief. Or as Samuel Taylor Coleridge argued: “[if a writer could infuse a] human interest and a semblance of truth [into a fantastic tale, the reader would suspend judgment concerning the implausibility of the narrative].” If you look at it another way this is the original 24, but with a hard-assed biker veteran saving the USA instead of a Kiefer Sutherland. In the course of just over 2 hours Bill Hollweg and the folks at BSAP have created a faithful and loving tribute to one of 1981’s best movies.